«Caligula: The Ultimate Cut» (2023)

 The flawed masterpiece about the orgy of power

«Caligula» was released in 1979 and it still remains a controversial film.  The film has a very good cast (including Helen Mirren and Peter O’Toole) and some of the scenes are brilliant. Still unnecessary pornography insertions and overbearing emphasis on the naked bodies ruin the viewing experience. Also, because of the poor editing by Bob Guccione, «Caligula» gives the impression of a rough screening cut and not of a coherent motion picture.

The troubled production of «Caligula» led it to be disowned by the director, the screenwriter and the actors were not satisfied with Guccione’s version. The cinema buffs heard a lot of stories about how the film can be redeemed if it was reassembled in accordance with the vision of its creators. Finally, the art historian Thomas Negovan used the original camera negatives and assembled the version, which is more loyal to the original artistic vision («The Ultimate Cut»). Was he able to flesh out a masterpiece or not?

 Well, the answer is both yes and no.  As Tinto Brass said in one of the documentaries: «In my own mind, the film should have been a film on the orgy of power. In their version it became the power of orgy. They changed perspective». Thomas Negovan was able to reverse the perspective back to the vision of the Director. Additionally, in the context of «Caligula», the orgy of power comes hand in hand with an interesting oxymoron – the anarchy of power. What is the meaning of this self-contradictory remark?

According to the dictionary anarchy means a state of disorder due to absence or nonrecognition of authority or other controlling systems. Concerning the anarchy of power we must look to a quote from «Salo, or the 120 Days of Sodom» («In fact, the one true anarchy is that of power»). This quote perfectly summarized the nature of unlimited and unrestrained rule, epitomized by Caligula.

 «The Ultimate Cut» presents Caligula as a sick and a deformed human being with complete disregard for any moral or political restraints. The absolute power completely «liberates» him, and he is ready to play the God. Caligula has no regard for the remnants of the Roman Republic, especially the Senate, and he consistently tests their limits. He is surprised that the senators are ready to tolerate anything in order to keep their places and to retain the possibility to plunder Rome.

The Roman Senate, which was once the house of the wisest and the ablest persons, already surrendered its real power to Augustus and, by the time of Caligula, became just a figurehead body. This Senate doesn’t have Cato, Cicero or Brutus, it has only sheep in rich clothing. They lost the ability to present a united front against a tyrant and they don’t have the guts to execute a conspiracy to murder him.

 

This narrative brings out a lot of parallels with current events in the world, including modern Russia. By the virtue of removing the tasteless pornographic scenes and putting emphasis on the corrupting nature of absolute power, «The Ultimate Cut» finds the right balance between black humor, intellectualism, cruelty and depravity. Additionally, the new cut sheds more light on previously neglected characters, including Caesonia and Cassius Chaerea, presenting them as scheming and unscrupulous persons, who are playing their own political games with Caligula.

Still, even «The Ultimate Cut» fails to bring «Caligula» to the level of a true masterpiece. The film is still uneven and it takes great liberty with historical accuracy, especially concerning the character of Claudius. Regardless, finally «Caligula» is presented as a flawed masterpiece about corrupting effect of absolute power on a society as a whole and not as a pretentious porn.

«The Stendhal Syndrome» (1996)

 

A decent thriller, which lacks the magic of «Profondo Rosso» and «Suspiria»

 

From his birth Dario Argento ate, slept and breathed cinema. He started out as a film critic and when the time was right, he made his first film («The Bird With The Crystal Plumage»). His father (famous producer Salvatore Argento) produced the debut motion picture, and its success launched Dario’s career. Asia Argento started out as an extra in the films of Dario’s friends and when the time was right she took leading roles in her father’s pictures. What can we say about their second joint picture («The Stendhal Syndrome»)?

 

Detective Anna Mani travels to Florence in order to get the leads on whereabouts of a notorious serial killer and rapist. While visiting the Uffizi Gallery she is overwhelmed by a painting and passes out. The killer uses it and subjects Anna to a bizarre psychosexual torture and, strangely, doesn’t kill her. Traumatized Anna is granted medical leave, but she gains the upper hand when the maniac strikes again. The murderer is presumed dead, nevertheless the killing spree continues. Who is the new culprit?

 

The art projects, among other things, the fears, desires and impulses, including the darkest, of the author. The spectator often projects his own experiences on the viewed art object and, from time to time, he becomes really overwhelmed by it. One of the most extreme viewer’s conditions is called the Stendhal syndrome (when the person can even faint or hallucinate when exposed to artwork). In addition, certain serial killers saw themselves as artists and their «art» inspired new murderers.

 

As in his earlier films, Dario Argents explores the theme of repressed victim’s memories, which are triggered by traumatic experience. Still, he leaves a lot of question marks. Was Anna abused as a child? Did Anna run away from her hometown or she just wanted to start the police career in a bigger city. The answer is up to the viewers’ projections. Anna’s profession leads to another interesting point.

 

Police work, generally, is considered masculine and the female police officers are often seen as males with long hair (to pit it mildly). In the beginning of the film, Anna looks like as a stereotypical defenseless girl and the colleagues treat her as a little sister. After the traumatic event she tries to project aggressive masculinity, but it doesn’t bring the desired result. So, she assumes the personality of a blonde to full the authorities, romantic interests and future attackers.

 

Still, the main question is – was the Director able to fully execute this interesting material? The answer is both yes and no. Asia Argento convincingly portrayed a tormented woman, the maniac will give violent chills to the viewer and the plot will surprise with few interesting turns. Nevertheless, the film lacks the flare and magic of earlier Dario Argento’s art. It doesn’t fully captivate the viewer; it doesn’t have memorable music; it doesn’t play sophisticated games with a viewer’s mind, and it doesn’t provide you with some truly memorable scenes.

 

Summarizing, «The Stendhal Syndrome» is a decent, but not so memorable thriller. If you want to see the real Dario Argento, then watch «Profondo Rosso».

«Edith and Marcel» (1983)

Tonight all France is boxing/singing with you

Two symbols of France – Marcel Cerdan and Edith Piaf, - started to make their name in history on the eve of the Second World War. Then, in 1948 they met in New York City and started their ill-fated romance (if you quote Hymne à l'amour «nous aurons pour nous l'éternité...»). Nevertheless, the film was panned by the critics. I don’t understand why.

«Edith and Marcel» captures the spirit of that age and the sweet melancholy of Piaf’s song. They are two completely different people – capricious bohemian Edith and silent fighter Marcel, - but their ride is filled with joy and immature silliness. Nevertheless, we all know what will happen on the 28^th of October 1949.

Still, the film is not biographical, like «Le Bon et les Méchants», it is more a fantasy trip on the basis of real events. The film is filled with the symbols of that age, including «Gone with the Wind» and love letters between persons separated by long distance. To add a little touch of how ordinary people invent their phantasy life, Claude Lelouch supplements the parallel line of love story between POW Jacques Bonhomme and aristocratic Margot de Villedieu.

Summarizing, «Edith and Marcel» is long and engaging voyage. I could say only one thing - don’t hesitate to take that voyage with Edith and Marcel.

«Buongiorno, notte» (2003)

In the 1970s Italy was rocked with acts of political terrorism, committed by far-left and far-right terrorist groups. This period was called the Years of Lead and some historians even characterized it as a low-intensity civil war. This, combined with economic crisis, gave the impression of the total collapse of the Italian state and full impotence of the ruling party (Democrazia Cristiana).

That situation demanded irregular decisions and certain major players of Democrazia Cristiana, including Aldo Moro, decided to make reapproachment with the Italian Communist Party. The Historic Compromise was opposed by lots of powerful forces, but it gave a hope of fixing the chronic Italian problems. Then, on 16^th of March, 1978, Aldo Moro was kidnapped by the Reb Brigades.

By the end of the 1970s, the Italian Communist Party shifted to the reasonable left-wing platform and showed its administrative credentials in the certain parts of Italy (including Emilia-Romagna). On the other hand, the Red Brigades was a radical left-wing terrorist organization in the mold of Narodnaya Volya. They applied such principles as a culpability of a person just on a merit of his affiliation with the certain class (i.e. bourgeoisie).

The film captures the spirit of the Red Brigades, whose members were, among them, dogmatic radicals, who were committed only to so-called «proletarian justice», or left-wing students, who began to get disappointed in violence. At first, they think that the Italian state is on its knees and the Italians will support them, but the reality is different – the people are indifferent or appalled and the political class took a hard stance against terrorism.

Marco Bellocchio shows the events through the eyes of Chiara – a 23-year old radicalized woman, who assists the Brigades and works as some dead-end job at the ministry. Firstly, she sees everything through the prism of class struggle and considers Aldo Moro as an oppressor. Still, she starts to see things differently and understands that nothing is black and white. In addition, Chiara starts to realize that her organization is turning into something that she truly abhors – fascists, which were also ready to execute people without proper proof of their guilt.

Nevertheless, they already went too far and there is no turning back for them. The Director also included the repetitive historical pattern of how some radical fools (such as SA during the rise of Hitler or Left Socialist-Revolutionaries during the Russian Revolution) are used for some political gain and then discarded as an used ammo. So, the Red Brigades became useful to sabotage the Historic Compromise, but for how long?

The film captures this claustrophobic atmosphere and the heroes are already in prison. Only, for that moment, their prison got separate rooms, good food, books and wine. Nevertheless, soon they will move to a less comfortable prison, where they will rot for many years to come. Moreover. their prisoner, a decent (at least, for a politician) family man and god-fearing Catholic, will be uses as a martyr to promote some short-term political goals.

A former radical left-wing activist Marco Bellocchio shot an extraordinary film about how idealism, combined with political radicalism, could lead to barbaric actions and how those actions can be exploited by some smart people. Watch it.

«Mr. Klein» (1976)

We've been French and Catholic since Louis XIV!

1942, Paris. Unscrupulous art dealer Robert Klein makes desperate French Jews to pay peanuts for priceless objects of art. He is quite content with his life until he is mistaken for a Jewish namesake. From that moment, he desperately needs to prove his non-Jewish heritage or the consequences will be horrific.

During the Nazi occupation, the French people retained, for the time being, some civil rights (or, at least, the resemblance of it). Frenchmen, who was not engaging in some subversive activities, were left alone by the Nazis. Still, one slip (such as contact with the undesirable) – and the person could end up in the collaborationist French police or, even worse, in the Gestapo.

In the post-war West Germany, all the blame was shifted to the SS, and Wehrmacht was portrayed as noble descendants of the brave knights, who were honorably doing their job. Post-war France adopted another legend – the French society was actively resisting occupation and collaborationists were just a few renegades.

Still, the reality was far from this fiction. During the film, there is almost no German character, and most of the dirty work is done by the Frenchmen (police officers, unscrupulous dealers and etc.). Parisians are trying to lead an ordinary life and, the most despicable among them, is trying to make a profit from the plight of others.

Any dictatorship and totalitarian regime always seek to brand certain categories as enemies. It could be a social class, a race or something else. Such people are completely cancelled. First, they’re stripped from their rights, secondly, they’re completely excluded from society and, finally, they’re stripped from their freedom or, even, from their life. Such process starts on a mere suspicion and when Robert Klein is suspected in being Jewish, his life starts to disintegrate.

What aides dictatorship? Collaborationism? To a certain amount, yes. Dictatorship is aided most by apathy and indifference. The plight of the oppressed is accompanied by the silence of the rest. Those who retain some resemblance of dignity will stay silent, those who don’t have scruples will take advantage of the cancelled person.  

Will Robert Klein prove that he is French and Catholic? Watch and find out the answer. «Mr. Klein» is a powerful story about the triumph of evil in an apathetic society. See this film and think carefully about the message.

«Ginger & Fred» (1986)

Bittersweet symphony by Fellini

 

A popular Italian TV show entertains the viewers with all kings of grotesque, including charlatans, impersonators and imprisoned mafiosos. One day, the show presents to the people two past stars – impersonators of Fred Astaire and Ginger Roberts. Will the modern public understand those dinosaurs?

 

In the 1980s Silvio Berlusconi launched his TV empire and flooded the Italian screens with Americanized game shows and soap operas. Fellini shows Rome filled with vulgar advertising and adult cinema billboards. He constantly pokes fun at this new world with its emphasis on tittering the lowest impulses of the people. He even gave a small role to Moana Pozzi (Google about her).

Still Fellini is no Pasolini, so he wasn’t filming the indictment of modern society. He made a bittersweet symphony about two past stars, who are reunited after a long separation. They’re beaten by life and age, but they still have their magic. While they’re preparing for the showtime, we feel their energy and chemistry. So, maybe they will be able to win the love of the new generation.

 

So, despite showing the vulgarity of the 1980s Italy, «Ginger & Fred» is first and foremost a moving story about the meeting between an old Italy of music hall and a new Italy of TV shows. It tastes like grapefruit or fine chianti. So, don’t hesitate to savor it!

«Supersex» (2024)

A feminist outlook on Rocco Siffredi

 

How feminist can write something about Rocco Siffredi? I think that his name is a red rag for lots of people, especially feminists. Still, the Italian feminist Francesca Manieri wrote a script for the 7-episode TV series and even Rocco didn’t say bad words about it. Was she able to pull it off successfully? In my opinion, the answer is both yes and no.

An article on deadline.com informs that Francesca Manieri wrote the series as a statement on what porn represents and how modern masculinity is constructed[1]. The story of a descendant of a poor and devoutly Catholic family from a conservative coastal Italian town (Ortona) is a fertile ground for such statement.

Mom wanted her little Rocco to become a priest, but he wasn’t suited for it, his vocation was in something else. Rocco is fascinated by his cool and slick older half-brother Tommaso and he is obsessed about the main hero of a Supersex magazine. When he reaches the age of emancipation, he immediately joins his older brother in Paris and starts frequenting sex clubs, where he is spotted by the Supersex himself (Gabriel Pontello) and his dream becomes true!

The authors did a nice portrayal of the bizarre world of adult cinema. In addition, they captured the very essence of an age when adult cinema was also a political statement. The West, in general, went through it in the 1960-1970s, but Italy arrived late – only in the 1980s. Still, as almost everything else in Italy, it was in operatic proportions, including the election of Ilona Staller, better known as Cicciolina, to the Italian Parliament.

Real Rocco is a contradictory person – a married father of two, who earns his living in adult cinema. The interviews with Rocco shows a person, mired in Catholic guilt and childhood traumas (including the death of his brother). The authors were able to capture it, and I have nothing but praise for a portrayal of Rocco as a person who is tormented between conservative upbringing, love for mother, pain and primal desires.

Still, what about statement on modern masculinity? Here something is rotten in the state of Denmark. The story of Tomasso looks like as one-dimensional tour into so called toxic masculinity. In addition, I am not familiar with the story of Lucia, but it looks over-the-top exaggeration. Finally, the plot on how Rocco destroys ordinary women smells as a partisan statement. Nevertheless, Francesca Manieri didn’t descend too much into radicalism and tried to project an objective portrait, and this is a big plus for her.

 

In closing, let me say that «Supersex» is a decent periodic piece about the bizarre world of adult cinema and one of its most colorful representatives. As «Boogie Nights» it got the right balance of drama and comedy. Check it out, if you are not a moralist or easily offended snowflake.

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[1] https://deadline.com/2024/03/netflix-italy-supersex-rocco-siffredi-tinny-andreatta-1235842929/